Fans Say

Chicago Sun-Times

This is Webber's flawed but treasured document of his son, an attempt to share a portrait of their developing relationship, and — later on — a chance for Isaac to see his dad's parental reflections captured on-screen.

Los Angeles Times

The Playlist

By James Rocchi

The End of Love is hardly a work of revelation. At the same time, it's surprisingly well-executed, nicely performed and manages to combine a warm and gentle sense of the rhythms of life with a cold and bright-eyed look at the world and its lead's flaws and character.

indieWIRE

By Eric Kohn

There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.

Time Out New York

By Eric Hynes

It’s a kind of self-portrait made out of quotidian meals, naps and scattershot car-seat conversations, and though the loss that underlies Mark’s emotional state feels like a scripted conceit, The End of Love excels at conveying the moment-to-moment frustrations and exhilarations of being a dad.

New York Daily News

By Elizabeth Weitzman

There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he’s ready to commit fully to his own vision, there’s no end to what he might accomplish.

New York Observer

Variety

By Rob Nelson

Oddly overstuffed with cameos by bigscreen actors playing tongue-in-cheek versions of themselves, Webber's Los Angeles-set, microbudget dramedy delivers some rare and beautiful moments of daddy day-care, but its tone shifts more wildly than a preschooler's disposition and its narrative is stillborn.

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